On Wed, 1 Nov 2000, Terry Hancock wrote:
> For "The Light Princess" game we were discussing how to handle
> background music. We started with a fairly static "state-based"
> adventure game concept, but I'm moving towards a more agent-oriented
> design in which a lot of game action happens by interacting with
> agent-based characters, which have simulated emotion states and so on.
In that case I would suggest dropping normal notions of music, and go for
something more abstract. I would also suggest going for as simple an
approach as possible. I am no expert on adventure games but feel that
complex approaches to such approaches fall flat.
Simply choosing a couple of sounds for each character, place and object
and playing them at random times in their prescence would yield good
results. These noises wouldn't be directly related to the objects, but
would create a mood around them.. For example, a slow, metallic dry pad
sound around an anvil rather than the sharp sound of a hammer hitting
metal.
These sounds should be minimal, so that they can mix together to create an
overall effect that is rich or sparse depending on the location.
> I was visualizing a (possibly rather cludgy) system of combining fixed
> music scripts (character themes, room themes and ambience, as well as
> pieces selected for various points in the plot). But, would I be
> better off seeking a "generative music" solution?
Fixed scripts become irritating on repeat listenings.
Alex
--
a fuzzy mind that envelops facts and then digests them slowly
A member of the state51 conspiracy
sound formed in a hoover may seem a waste of time
